40 Days of Screenplays: Introduction and Reading Memento

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As a marketer having the ability to tell stories effectively is very important. Understanding character, plot, setting and themes are only the foundation of the process. Stories are well sell ideas and they are what communicate messages effectively. For this reason I’m committing myself to reading 40 screenplays for the next 40 days.

Below are my reflections from having read my first script, Memento by Jonathan Nolan.

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Here’s the tweet that introduced me to this challenge:


#ff @GoIntoTheStory and @nate_winslow for deets on #40Dos: Read a script a day for 40 days challenge: http://bit.ly/9pUDsy #scriptchatless than a minute ago via webMina Zaher
DreamsGrafter



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6 responses for this post

  1. Mian Says:

    Salam Bilal,

    How come you watch all these movies? Like momento, batman etc when Shariah forbids these acts?

    Not trying to be a prick but I know its hard to resist (I gave up movies over a year ago myself)

    Your brother
    Salam

  2. Jawaad Ahmad Khan Says:

    True. From my experience reading the scripts..the technical stuff actually didn’t bother me as much (as I expected it), but the very fact that this is where the foundation of the movie is hits you. This is where a writer is speaking to you as a reader.

    Another aspect to this got me thinking about how many people are going to read a script for that movie to be made. It starts with the screenwriter(s). Then the director decides to take it on and reads the script (as you said, interpreting it as he sees it), and actors read it trying to hone in on their character…but even farther would be possibly the set designers, the cameramen probably read the shooting script, the makeup artist, the casting people look for actors that fit physical and emotional roles of characters…and it all begins with that story.

    So far I’ve read “Witness” and “Back To the Future”. Both gave great insight into the way they wrote (and the nuances) back in 1985, which, from the commentary, it seems they added much more literary detail and such. I hope to continue with some more recent movies (I’m on “Die Hard” right now) and see how the process has developed over time (as well as the cultures and how they’re displayed).

    It’s true what the guy from Go Into the Story says…as long as you commit to reading these scripts, without any added analysis or even commenting…you’ll still gain a whole lot from the experience.

  3. Bedou Says:

    Quick notes:
    - Christopher Nolan wrote the screenplay for Memento. He adapted from his brother Jonathan’s short story.

    - The “technical jargon”, by which I think you mean the screenplay format, i.e. the Scene headings, transitions, dialogue format, etc… is actually the only format any agent/studio/producer/creative will accept for reading. It’s an industry standard, and if someone opens up a page in the screenplay and does not see that format, they will toss it away. Just wanted to clarify that, as the video makes it seem like it’s just something for the shooting script.

  4. AlBaraa Says:

    According to Scott Meyers – he’s the guy that started this 40 scripts for 40 days challenge – states on a blog post of his the following

    First off, let’s make a distinction: There are scripts that you write and direct that are not dependent upon outside financing, then there are scripts that do require other people’s money. Per the former, assuming it’s your own cash, you can write the script however the hell you want. If, however, you need to lure in production dollars from other sources, then I would argue that you still have to approach the script as a selling script, not a shooting draft. Why? Because it’s the story that will hook funding, so you want that script to be as literary and readable as possible. If it’s filled with CU, SMASH CUT TO, TILT UP, ZOOM IN, that can distract from the story.

    Once you have funding and the actors lined up, you can rewrite the script for your shoot, including scene numbers. Break down each scene shot-by-shot. Alternatively you can storyboard the whole thing, so the crew is working from the original script — especially important for the actors to keep their minds in the story and not get caught up in your details per directing.

    See the actual blog post here:
    Reader question: If I’m writing and shooting my own movies, are there style and format issues I should be aware of when writing my script?

  5. Bedou Says:

    Yeah, my point was that it’s an industry standard, and if you want to get into the industry (i.e. “make movies with other people’s money”), that format needs to be adopted.

    Of course you can do whatever you want with your own thing, but if your desire is to make it big, you just have to learn this pretty easy format. It’s practice for when you can one day helm your own big budget pic. Just look at Christopher Nolan’s story… from his low-budget Following, to getting a blank check from WB to do Inception. I pick him as an example because his screenplays are true examples of the medium.

  6. AlBaraa Says:

    @MIAN -
    see the new post:
    http://www.leechon.com/40dos-toy-story-1671.htm

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